Hit Parade | The Deadbeat Club Edition, Part Two

Original Air Date: July 13, 2018
Host: Chris Molanphy
Podcast: Hit Parade | Music History and Music Trivia (Slate Podcasts)

Episode Overview

This episode of Hit Parade dives deep into the comeback and breakthrough journeys of two cornerstone Athens, Georgia bands: the B-52s and R.E.M. As the 1980s closed and the Alternative Revolution crested, both bands emerged from critical darlings and cult acts into commercial powerhouses, redefining modern rock in the process. Through detailed storytelling, chart analysis, and rich context, host Chris Molanphy explores their resilience, musical evolution, and eventual crossover to mainstream pop, all against the cultural changes of the era.

Key Discussion Points & Insights

Setting the Stage: Athens, GA Bands in the 80s

• Recap: Previous episode detailed early years of B-52s/R.E.M. and Athens' role in nurturing post-punk and college rock (00:00–03:18).
• Both bands had achieved critical acclaim and solid album sales but still lacked major radio and chart hits.

The Mid-1980s Crisis: Tragedy and Transition for the B-52s

• Ricky Wilson’s Passing: Guitarist Ricky Wilson dies from AIDS in October 1985, shocking the band and throwing their future into doubt (06:57).
  • Cindy Wilson (Ricky’s sister):

    "We suspected, but we didn't know. ... The next day Keith called me and said, Ricky's dying of AIDS. And a few days later he passed away. ... We couldn't possibly think of going on without Ricky." (08:21)

• Aftermath: The band's album, Bouncing off the Satellites, underperforms commercially but resonates in dance clubs and with the gay community.
• Band goes on hiatus, unsure about continuing (10:19–11:59).

R.E.M.: Critical Darlings Become Radio Staples

• Political Watershed: "Fall On Me" marks the band’s turn toward overt social commentary and radio-friendly sound (12:10).
  • Chris Molanphy:

    "It was an elegy for the environment, mourning the state of the sky in the age of acid rain and angry at the ruin of the planet at the hands of corporate interests." (12:10)

• Chart Progression:
  • "Fall On Me" peaks at #5 on Album Rock chart, only #94 on Hot 100.
  • Life’s Rich Pageant becomes their first gold album.
  • Cover of "Superman" reaches #17 on Album Rock (13:41).
• Top 40 Crossover:
  • "The One I Love" cracks the top 10 (#9), their radio breakthrough (16:10–17:34).
  • Casey Kasem:

    "They're a four man band for Athens, Georgia called REM, coming in at number 30 with The One I Love." (17:22)

R.E.M. Pushes Boundaries

• "It’s the End of the World As We Know It":
  • Not a big initial pop hit (peaked #69), but becomes a lasting classic and group singalong (18:48–21:59).
  • Chris notes its dense lyricism—614 words in four minutes—and enduring radio presence.

The Return of the B-52s: Recovery, Reinvention, and Cosmic Thing

• Keith Strickland Steps Up:

  • Shifts from drummer to lead guitar, helps the band find its new sound and motivation (24:01–24:54).
  • Cindy Wilson:

    "I remember Keith saying he felt like, I want to write some more music. I want to do, you know, let's do another record. ... We realized at this point how precious life was." (24:54)

• Producer Partnerships:

  • Nile Rodgers (Chic, Madonna, Bowie) and Don Was (Was Not Was, Bonnie Raitt) helm Cosmic Thing sessions, blending rock, funk, and pop (25:07–26:28).

• Rise of Modern Rock Radio:

  • Billboard’s Modern Rock Tracks launches in 1988, reflecting changing tastes and providing a new home for bands like R.E.M and the B-52s (28:01–29:46).

Commercial Breakthroughs: R.E.M. and the B-52s Take Over

• R.E.M.:

  • Green (1988) is their Warner Bros. debut.
  • "Orange Crush" tops Modern Rock; "Stand" (#6 on Hot 100) cements pop breakthrough (31:00–35:50).
  • "Pop Song 89" delivers a memorable gender-bending video statement from Michael Stipe.
    • Chris Molanphy:

      "All four dancers, Michael Stipe included, have black bars covering their chests ... a potent statement of solidarity and gender parody." (35:50)

• B-52s:

  • "Channel Z" hits #1 on Modern Rock with environmental/anti-corporate messaging (37:06).
  • "Love Shack" becomes the band's cultural, radio, and chart zenith (#3 Hot 100, gold record), with an iconic video featuring RuPaul (38:23–40:00).
    • Chris Molanphy:

      "It was pure pop for now people, universal, progressive and joyous." (38:23)

  • "Rome" also hits #3, album Cosmic Thing goes quadruple platinum.
  • "Deadbeat Club" (homage to Athens bohemia) reaches #30 as a wistful capstone (41:36–43:00).

1990s and Beyond: Divergence, Endurance, and Legacy

• R.E.M.:

  • Out of Time (1991), featuring Kate Pierson, brings "Losing My Religion" (#4 Hot 100) and "Shiny Happy People" (#10) (44:08–45:29).
  • The band sustains massive popularity, with further platinum albums and the $80M Warner contract (47:10).
  • Michael Stipe and members become more open about sexuality and political stances.

• B-52s:

  • Good Stuff (1992), recorded without Cindy Wilson, performs modestly; title track tops Modern Rock.
  • Band slows activity, but participates in soundtracks and pop culture (Flintstones cameo) (49:35–50:25).
  • Members become public about their sexuality and identities in the following years.
  • 2008’s Funplex marks commercial resilience and continued affection (50:25–51:23).
  • 2011: Return to Athens, GA for a celebratory hometown show, performing "Deadbeat Club" to a jubilant local crowd.

Notable Quotes & Memorable Moments

• On surviving loss:

  • Cindy Wilson (B-52s, 08:21):

    "We didn't think we were going to continue. ... I remember people saying, like, get another guitar player...But we couldn't possibly think of going on without Ricky."

• On chart-busting lyrics:

  • Chris Molanphy (18:48):

    "'It's the End of the World As We Know It' packs 614 words into just over four minutes, nearly twice as many as Dylan's 'Subterranean Homesick Blues.'"

• On gender and media:

  • Chris Molanphy (35:50):

    "It was a potent statement of solidarity and gender parity," describing Michael Stipe's topless, censored video for "Pop Song 89."

• On triumphant return:

  • Chris Molanphy (38:23):

    "'Love Shack' was pure pop for now people, universal, progressive, and joyous."

• Personal revelations:

  • Keith Strickland (47:32):

    "I felt forced to talk about my sexuality and, you know, my queerness just because I felt like I was being looked on as a coward for not talking about it. ... I thought it was dead obvious to everyone all along."

Detailed Timeline & Timestamps

• 00:00–03:18: Recap: Athens, GA’s influence and the two bands’ early years
• 06:57–08:58: Ricky Wilson’s illness, passing, and the B-52s’ crisis
• 12:10–13:41: R.E.M.’s "Fall On Me" and Life’s Rich Pageant success
• 16:10–17:34: R.E.M. breaks into the Top 40 with "The One I Love"
• 18:48–21:99: The unlikely legacy of "It’s the End of the World As We Know It"
• 24:01–25:07: Keith Strickland motivates B-52s to move forward
• 25:07–26:28: Nile Rodgers and Don Was produce Cosmic Thing
• 28:01–29:46: Rise of Billboard’s Modern Rock Chart
• 31:00–35:50: R.E.M.’s Green era: "Orange Crush", "Stand" and the video for "Pop Song 89"
• 37:06–38:17: B-52s’ comeback via "Channel Z"
• 38:23–40:00: "Love Shack" becomes their first Top 10 hit
• 41:36–43:00: "Deadbeat Club" and homage to Athens
• 44:08–45:29: Kate Pierson’s collaborations on R.E.M.’s Out of Time
• 47:32–48:06: Coming out and queer visibility
• 49:35–50:25: Late-career projects and pop culture cameos
• 51:23–end: 2011 Athens show and ongoing legacy

Tone & Style

Chris Molanphy’s storytelling is detailed, affectionate, and analytical. He maintains a tone of celebration and reverence for the resilience of these artists and the cultural changes they mirrored and enacted.

Takeaways

• The late 80s and early 90s marked a seismic shift for alternative music, driven by chart innovations, changing public taste, and the evolution (and survival) of the B-52s and R.E.M.
• Both bands leveraged tragedy, resilience, and evolving artistic visions to become pop icons, leaving an indelible mark on both modern rock and mainstream pop.
• Their stories are intertwined not just musically, but as examples of queer visibility, experimentation, and persistence in American popular culture.

For listeners or music fans, this episode serves as a comprehensive, energetic, and insightful journey through a turning point in American alternative and pop history, told through the lens of two of its most enduring and original bands.